Alexander Grechanik’s works as far from the ‘nice’ as the Moon from the Earth. His works can’t be hanging together with works of other painters – they squeeze the space and roll it over with tension, distorting the reality into something super-real, something which is more monumental than an icon. Because his works has no sacred content inside and at the same time they hide some concentrated energy which makes the observer look into the frames as into the window to the other better? worse? skewed? distorted? attractive? world – who knows and does it really matter?
Japanese tradition of ‘tokonoma’ painting to be put into the special niche in the wall as an object for meditation is the most close parallel to conception of Alexander Grechanik’s works of art.
It is not the technique which gives the effect, the level of multi-layer skill is so high that the viewer normally does not notice it, just after some time maybe the colors which change from time, light angle and time of day give a thought ‘how come?’ Alexander managed to create a whole new way in art, which is almost impossible in the beginning of the XXI century. When it looks like everything was tried and does exist, when many do not know what else to invent to attract attention, Alexander just made something which seize the observer and make a person stand and look. Maybe not thinking, maybe just feeling something outstanding, literally standing out of the reality and at the same time too real not to be life. The questions of life and death, of survival, poverty and fame, of naked lucidity and war, of the friends which forget and of foes who sometimes convert to brothers… Of seas and deserts, of skies and underground darkness…
Every one of his paintings, even nature morts,  are a frozen moment when the person asks oneself: why? Does it worth to go on? Does it worth at all, all this? And beside the painting Alexander Grechanik stands with a brush in his trained hand – silent. He told his story, he set his frame of this bifurcation moment. He earned his right to be silent by years of work and hermitage. Now it is your turn. It is your turn to think and decide, does it worth.
It is not the simplicity of the personages at the paintings: the simplicity is many folded too. Looking at Alexander Grechanik’s works one just begin realize with time that the work is much more deeper than it looks. That there are not only many, many layers of oil on the canvas but also many, many layers of though there, through the canvas. And only with time one begins to have the same feeling of understanding something which master wanted to bring to the painting and which is impossible to  tell by words. (Alexander Dmitriev, 2008)